Their goal is to offer a “variety of essays that showcase the different modes and approaches as well as the theoretical shifts and changes of the last two decades” in an effort to engage students in the classroom (5).Īs an introductory text, the anthology is incredibly successful. The editors define fan fiction as “historically situated in the last forty years, tending to respond to a specific form of media texts, and encompassing a specific amateur infrastructure for its creation, distribution, and reception” (7). In fact, it is responsible for a new academic anthology, The Fan Fiction Studies Reader, edited by Karen Hellekson and Kristina Busse. Much has changed since Jenkins’ book, including the mass proliferation of the internet and social media, but its influence hasn’t diminished. This insight prompted a new wave of scholars to examine audience reception and revise the previously misunderstood relationship between producer and consumer. In his groundbreaking work, Jenkins demonstrates that fans are more than just passive consumers, and that they actively make meaning out of the texts they interpret. Above: Purple haired trekki from .Īfter the publication of Henry Jenkins’ Textual Poachers: Television Fans and Participatory Culture in 1992, a scholarly revolution had taken place.
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